Since its construction in 1228, the Basilica of Saint Francis has held major significance as a site of Catholic pilgrimage worldwide. Aside from enshrining the body of the venerated saint beneath the high altar, its collection of paintings by Giotto is renowned for its role in Western art history, transitioning from Byzantine stylization to humanist narrative, realism, and three-dimensionality. Depicting scenes from the life of the saint and other biblical narratives, these paintings have influenced generations of artists and continue to captivate.

Architecturally, the basilica is structured in two tiers, with the Upper Church above the Lower Church. This extraordinary feat presented significant engineering challenges, which were ingeniously addressed through the use of massive arched buttressing. While the original creator remains unknown due to the destruction of original drawings in a raid by the Perugians, it is commonly attributed to Lombard masons inspired by Gothic churches in southern France. The structure's design, particularly its single-naved Upper Church, served as a model for countless Franciscan churches across Italy.

Both churches are adorned with exquisite frescoes, making them veritable artistic treasure troves. The Lower Basilica exudes a dimly lit ambiance, while the Upper one is characterized by its brightness and spaciousness. Giotto's frescoes in the Upper Church, painted when he was still in his twenties, mark him as a pivotal figure in the evolution of Western painting. Additionally, the Lower Church boasts frescoes by esteemed painters Simone Martini and Pietro Lorenzetti, alongside those by Giotto or his assistants.

Visitors should adhere to the basilica's strict dress code, which prohibits bare shoulders or knees. To avoid crowds, it is advisable to visit early or late in the day, ensuring a more serene experience amid the awe-inspiring ambiance.

In 2005, Italian artist Norberto Proietti crafted a modern equestrian statue of Saint Francis, now standing outside his namesake Basilica. Inscribed on the bronze plaque is a quote from the "Legend of the Three Companions", describing a crucial moment in the saint's life:

– Lord, what do you want me to do?
– Go back to your city and you will be told what you must do.
At daybreak, Francis, with a renewed inner spirit, sought only to align himself with the will of God.

Throughout his life, Francis experienced many dreams. One such vision led him to aspire to become a knight and join the papal army. Following this vision, he acquired armor and a horse, setting off for Rome. However, during a stop in Spoleto, he had another dream in which God questioned his actions, urging him to serve God rather than the army.

Undoubtedly, the young Francis, filled with idealistic aspirations, feared returning to Assisi, where he might face his family's scorn for abandoning his knightly ambitions and avoiding the perils of battle. The statue portrays the future saint in a state of humility, prior to his monkhood – slouched in his saddle, head and shoulders drooping, his despondency mirrored by the demeanor of his horse.

Assisi's beating heart, Piazza del Comune, sits atop what could be the Roman Forum or an ancient sacred site – opinions vary. In any case, it's a striking medieval square, teeming with eateries that might cost you an arm and a leg but offer prime spots for people-watching.

A chunk of the magnificent neo-Gothic former post office, decked out with frescoed walls and stunning vaulted ceilings, now houses the tourist office. Overlooking the square are some significant palaces, such as the 14th-century Palazzo dei Priori, but the star of the show remains the former Temple of Minerva, whose façade has been perfectly preserved.

Back in the day, feudal bigwigs flaunted their residential towers here, eventually making way for the rise of merchant-class buildings. By 1305, the Roman temple found itself flanked by the People's Tower, while the Town Hall held court on the south and western sides.

Tip:
Don't forget to check out the Zubboli bookshop, a local institution since 1870, and Bar Minerva, a favorite haunt for a drink.

This is believed to be the original site where the future Saint Francis of Assisi was born on July 5, 1182. Legend has it that his birthplace was once a stable, housing oxen and donkeys, where his mother sought refuge to give birth. The inscription above the pointed arch entry attests to this history, with the property being transformed into an oratory and first documented in 1286.

The façade is dominated by a Romanesque arch, with a Gothic entry portal. Stepping inside this place of worship, especially after visiting the larger churches bustling with tourists, one immediately notices the humble, minimalist interior: simple benches along the walls and traces of 13th-14th century frescoes above the raised altar.

Outside, in a charming, intimate square, stands a modern bronze sculpture depicting Francesco's parents: his father, Pietro di Bernardone dei Moriconi, and his French mother, Pica de Bourlemont. Overlooking the square is the imposing 17th-century Chiesa Nuova (New Church) with a grand Renaissance-style façade. This church was erected in 1615 on the presumed site of Saint Francis's paternal home.

Inside the church, near the first pillar on the left, visitors can see the room where Francesco's father, a prosperous silk merchant, allegedly chained his young rebellious son in an attempt to dissuade him from a life of penitence and devotion to the poor, hoping to steer him back to the family trade. Ultimately, Francesco was released by his mother, who understood her son's calling to higher values.

Consecrated in 1265, this basilica is the final resting place of Saint Clare, Saint Francis's devoted companion and the founder of Franciscan nuns. Born into nobility in 1182, her deeply religious upbringing "backfired", leading her to forsake her family and two marriage proposals at the age of 17 in order to join Francis. In a symbolic gesture, the saint sheared off her blonde locks and replaced her finery with a simple cassock. Though she parted ways with Francis after a year, they remained spiritually connected until his death.

The basilica stands of the site of the former San Giorgio church, where Francis attended school and was later canonized. With a modest facade and a lavish rose window, it mirrors the Upper Church of the Basilica of Saint Francis; however, its engineering fell short, necessitating the addition of peculiar buttresses in 1351 to stave off collapse.

Inside, the atmosphere is dim and austere, a consequence of early censorship efforts. In the 17th century, Bishop Spader of Germany, fearing corruption, ordered the obliteration of its frescoes. Some fragments of earlier Sienese frescoes from the original San Giorgio have survived, mostly in the transepts and above the high altar.

Notable features include scenes from the "Apocalypse" and the "Life of Christ" in the south transept, likely the work of a collaborator of Giotto. Above the high altar, a large 13th-century Crucifix hangs, surrounded by scenes from the "Life of Saint Clare". Meanwhile, the north transept displays episodes from "Genesis".

The Oratorio del Crocifisso chapel houses the Byzantine Crucifix that allegedly spoke to Francis, telling him: "Repair my Church". It also contains relics belonging to Clare and Francis. Clare's body rests in the Baroque crypt hidden down a passageway.

As you step out from the narrow streets east of the Town Hall Square, the Cathedral, or "Duomo", presents itself with its characteristic three-tiered Umbrian facade. Tradition has it that the first church on this site was built around 412 to house the remains of Saint Rufinus, Assisi's first ever bishop, martyred about 170 years earlier. Another structure was erected around 1029, with the crypt and current bell tower surviving from that period. Yet another iteration of the church, closest to the present-day one, was consecrated in 1253.

Its Romanesque portal is a masterpiece of carving, flanked by two red marble lions and adorned with lilies, foliage, faces, birds, winged crocodiles, and a pair of griffins. Look closely at the lunette above the door to spot the child being nursed, with its stern-looking parents. Adjacent to the portal stands a massive, sturdy bell tower, somehow harmonizing with the church's overall design.

Inside, the highlight is the baptismal font used for Saint Francis, Saint Clare, and possibly the future Emperor Frederick II. Positioned at the near end of the church on the right, it is surrounded by Romanesque statues of a lion and a winged ox. Across from it, at the beginning of the left aisle, a small door leads to an impressive Roman cistern. Recent research suggests that the cathedral square, rather than Town Hall Square ("Piazza del Comune"), may have been the location of the town's original Roman Forum.

Saint Rufinus's remains still rest in the crypt beneath the altar, which visitors can access along with a small museum.